Method of providing to user 3d sound in virtual environment

ABSTRACT

The invention provides the following items: A method of interactive providing a music composition to user; A method of using 3D sound for orientation of a user on the remote target; A method of providing a computer game to play blindfold; The method of providing to a user the interactive applications with unlimited locomotion. The inventions are based on ability of human binaural hearing and possibility to provide 3D sound to headphones to user from objects in virtual space. User is immersing into virtual space represented by sound objects. Using the user position and orientation in virtual space and position of every sound objects in virtual space, it is possible calculate and provide to a left and a right user&#39;s ears 3D sound using Head-Related Transfer Function. With such 3D sound user is able to localize the sound source position and interact with the sound object even blindfold.

This application is a continuation of U.S. patent application Ser. No.16/350,392, now U.S. Pat. No. 10,595,147, entitled “Method of Providingto User 3D Sound in Virtual Environment,” filed on Dec. 28, 2015, whichclaims the benefit of U.S. Provisional Patent Application No.62/096,533, entitled “Method of Providing to User 3D Sound in Virtualand Real Environments,” filed on Dec. 23, 2014. Both of the applicationsreferenced above are incorporated herein by reference in theirentireties.

3D sound is a dimensional sound correctly calculated that comes tostereo headphones and allows the user to localize a sound source in thevirtual space so to define location of the sound source intuitively.

The possibility of application creation based only on sound, ondimensional sound that allows positioning of its source or sources soenabling blindfold control of the application or control by a blindperson.

Binaural hearing features special possibilities which are not usedcompletely in the modern applications such as computer games, recordingand listening to music.

It has minimal effect even if some games support 3D sound partiallybecause generally all computers and game consoles are placed stationaryas well as stereo and Dolby Surround systems and nothing depends on theuser rotations towards the sound sources. Stereo headphones also have noappropriate effect as the sound does not change by head rotations. Thekey to 3D sound is in usage of orientation sensors on the user's head.In addition the user's head orientation is known and this information isused for correct audio reproduction from the positional sound source inthe virtual space for two ears of the user.

According to the invention, for calculation of the sound level from thesource located at the definite place of the virtual space model a soundengine has to use sound source directivity when it makes sense,coordinates and user's head orientation in the space, head orientationand position so as the level values depend on the distance of the sourceto each ear, time delay of the sound arrival to each ear, taking intoaccount the ear «shading» with head if the ear is not on the line ofsight of the sound source (head-related transfer function), sounddiffraction, and taking into account the sound spectral component. Soundof different frequency is shaded with head in a different way andperceived differently because of the curvature of the external ear.

It is useful to apply means to determinate the user orientation (user'shead) in the space and its appropriate orientation in the virtual space;this raises the possibility to transfer sound to ears from the source inthe virtual space and it allows the user to determine localization ofthe sound source. It should be noted that according to the inventionapplications that use three-dimensional sound can be whether assisted by3D image or be without visualization and be perceived only aurally.

A method for providing the user with binaural sound using modificationof original sound for two ears of the user with the use of calculationsfor transmission of correct graded volume to each ear, with calculatedtime delay of the sound front, using pitch level filter to ensurenatural sound perception and its source localization in the virtualspace.

A method for creation of applications with three-dimensional virtualspace enabling the user to determine its localization of sound sourcesin the virtual space naturally. For this purpose all possible propertiesof hearing are used, its physiology and features of sound propagation inthe space and user's head. Applications created according to theinvention allow the user of the application to determine localization ofthe sound source aurally, naturally the way man does it since his birthand following his experience.

The distance from the sound source depends on the position andorientation of the user's head towards the sound source. For example,the closer sound source to the ear is, the louder is the sound. Thebigger distances difference from the sound source to the different earsis, the bigger is the time delay of arrival of the sound wave front tothe farther ear. Except the difference in sound level because ofdifference in distance to the sound source the sound volume highlydecreases for a sound “shaded” by head that should be used by correctdetermination of the necessary sound level for different ears. In suchcase the shading goes on in different way depending on the soundfrequency.

The method enables to create a pure sound games without image at all orfor a period of time. It is possible to play aurally. One can listen asound of the object, determine its localization and, e.g. to come closerto it or move away from it or shoot in it depending on the aims of theapplication.

Image of a head and the difference of distances to ears.

Average distance between the human ears is 6 inches.

Binaural hearing—two components, time delay is not implemented inDirectSound, Open GL libraries and others, and surround effect ispartially implemented in some sound engines and libraries which usage isimpossible without connection to orientation 3D sensors as either stereospeakers or even surround system cannot provide precise positioning ofthe sound source for all directions.

One of the possibilities to use modern smart phones and tablets withrotation sensors. If we connect stereo headphones to them and transmitthe correctly calculated sound according to the invention it is possibleto use rotation sensor of a smartphone instead of a sensor on headbecause if the user holds it in hand he usually looks perpendicularly atdisplay, this means his head and the smartphone rotate synchronously. Ifthe smartphone is worn on head they are connected according to thisinvention.

A method for creation and functioning of a computer application in which3D sound is a leading part. For successful run of the application theuser should consistently position his source in the simulated 3D space,the space itself can be displayed or not.

Space diversity of two hearing receivers (external ears) and screeningeffect of the head and body with the use of diffraction effects lead tosignificant difference between signals transferred to the right and leftears; it enables localization of the sound source in the space that isconditioned by three physical factors:

a) time (Interaural Time Difference—ITD)—resulting from time differenceof arrival of the same sound phases to the left and right ears;b) intensity (Interaural Intensity Difference—IID)—resulting fromdifferent intensity values of the sound wave because of its diffractionaround the head and formation of «acoustic shadow» from the sideopposite to the sound source-head-related transfer function.c) spectrum—resulting from difference in the sound spectrum receipted bythe left and right ears because of different screening effect of thehead and external ears on the low- and high-frequency components of thecomplex sound.

A sound can be represented by numerous sources: by voice, music,speaking, by a song, animals, natural phenomena etc. A sound hasnumerous properties: pitch level (frequency), volume, directionalproperties, speed of propagation, attenuation. A real sound wave is notplane but spherical. Intensity of the spherical wave decreases ininverse proportion to the squared distance. By calculation of volumevalue for the user's ear it is necessary to account that by infinitelynear approaching the sound will be maximal. This maximum is to belimited to the safe threshold to prevent hurting the user's hearing. If,e.g. the sound source in a game is an explosion, it will not increasethe threshold with the raised volume at a distance by quadraticattenuation. But if the explosion in the virtual space is near theuser's ear, it is necessary to transmit not a nominal calculated valuewhen it exceeds the threshold but a threshold one. This logic can andshould be set into sound engines for applications to ensure safety forhearing and health of the user.

Sound perception depends on microphone sensitivity, hearing that canhave minimal and maximal thresholds of perception, specialty of soundsensitivity depending on frequency. Most of the animals including ahuman being have binaural hearing, they have two ears (sound detectors)mutually spaced and generally oriented in a different way. A lot ofanimals are able to change their ears and external ears orientation inthe right direction. It means that depending on how soon a wave frontarrives to the detector (an ear, a microphone) and how loud is the soundthe user can determine its location (distance and direction)intuitively. The user (listener) perceives the spatial location of thesound source automatically, subconsciously and by experience. On the onehand it is an objective process laid down by the animal physiologyinstinctively. On the other hand it heavily depends on individualpeculiarities of perception, shape of external ears, sensitivity andbackground experience. For example, a man who has already heard thebuzzing of a bumblebee and identified its spatial location will be ableto imagine pretty exactly where it is towards him (in the space) onhearing it. If a man does not know a “standard” volume of the soundsource it will be difficult for him to determine the distance to itexactly even though he can pretty exactly determine the direction fromwhere the sound comes. In 3D sound application we need firstly to givesound examples with their standard volume and show who produces them,how much do they cost and the way the price changes depending on time.The arrival of the sound reflections in the space to ears has also itseffect on the perception process. Sometimes in corridors of a building,in the city with buildings, in a forest the user hears louder sounds ofthe reflected sound signal especially when the source is closed from theline of sight with some obstacle. The user can come to a conclusionabout the real source position intuitively or logically. It can becritical for training of military and policemen. Reflection, diffractionand interference can be also programmed for sound engines of computerapplications, for plausible sounds reproduction in the virtual space.

Each sound source has its 6-DOF coordinates. 6-DOF is 6 measurements, 3of which are line coordinates (e.g., orthogonal coordinates X, Y, Z) andthree coordinates which locate orientation (e.g., Eulerian angles). Thesame orientation can be represented in a different way, e.g. uniquelydescribed with four quaternions. Each user has his 6-DOF coordinates inthe space. Both coordinates of the user and sound sources in the virtualspace can be described with 6-DOF coordinates or in a different way, andtheir coordinates can vary with time. Modern technologies allow trackingthe movements of hands and fingers in real time and in such a way tocontrol objects in the virtual or augmented reality. For manipulatedobject it is profitable to bring to correspondence the three-dimensionalsound and change it depending on position, orientation and manipulationby hands. For example, clenching hands to whistle with an inflatabletoy, to hear a purr of a virtual cat which is stroked.

BRIEF DESCRIPTION OF THE DRAWINGS

The above and other exemplary aspects and advantages of the presentinvention will become more apparent by the following detaileddescription of exemplary embodiments thereof with reference to theattached drawings in which:

FIG. 1 is a view illustrating shadowed right ear of the user from soundsource.

FIG. 2 is a view illustrating both ears can hear the sound source butdifferently.

FIG. 3 is a view illustrating users orientation to remote target fromtwo different cities.

FIG. 4 is a view illustrating sample of navigation in the city via soundbeacons.

FIG. 5 is a view illustrating headphone with a orientation sensorconnected to a gadget.

FIG. 6 is a view illustrating headphone integrated with the gadget.

FIG. 7 is a view illustrating headphone without orientation sensor, theorientation sensor is in the gadget.

FIG. 8 is a view illustrating samples of stereo microphones: regular andfor 3D sound.

FIG. 9 is a view illustrating samples of integrating stereo microphoneinto gadgets.

FIG. 10 is a view illustrating traditional method of creating andproviding a music composition.

FIG. 11 is a view illustrating three different position and orientationof user in virtual space.

FIG. 12 is a view illustrating another disposition of the band anduser's route.

DETAILED DESCRIPTION OF EXEMPLARY EMBODIMENTS OF THE INVENTION

The present invention will now be described more fully with reference tothe accompanying drawings, in which exemplary embodiments of theinvention are shown. The invention may, however, be embodied in manydifferent forms and should not be construed as being limited to theembodiments set forth herein; rather, these embodiments are provided sothat this disclosure will be thorough and complete, and will fullyconvey the concept of the invention to those skilled in the art.

FIG. 1 is a view from above to a user 1 with a right ear 2 and a leftear 3 and a sound source 4. A sound can freely come to the left ear ofthe user. But the right ear in this position and orientation is shadowedby user's head. The sound volume for the right ear will be much lowerthan in the left ear or absent. Even lower sound signal will bedifferent the for the left ear not just by volume level, but byfrequency characteristic. Lower frequency signal could reach theshadowed ear by diffraction, but high frequency not. Also wave front ofthe sound signal will come to the left ear earlier than to right ear.

FIG. 2 shows another disposition of user's head according the soundsource than on FIG. 1. Both ears will hear the sound signal but soundvolume for the left ear will be higher than for the right ear. Also wavefront of the sound signal will come to the left ear earlier than to theright ear.

FIG. 3 illustrates differ of users orientation to one remote target 5from different cities 6 and 7. User 1 is initial position of the user inthe first city 6. Application creates for the user 1 in the first city 6a virtual sound beacon 8 using data about user's position andorientation and remote target coordinates. When user hear a signals of3D sound in the headphones, user will understand that target is on theright, because the right earphone is louder than the left. User 1 properorientation to the remote target 5 (sound beacon 8) is illustrated byuser's position and orientation 1A. It is same user but turned to thetarget using headphones 10 and signals from sound beacon 8. The user 11is located in the second city 7, user is oriented to the same remotetarget 5 by virtual sound beacon 9 that is between the user 11 andtarget 5.

FIG. 4 is a view illustrating sample of navigation for the user 1 onuser's initial position in the city via sound beacons. Position of theuser could be determining by GPG sensor. Navigator also should definethe user's orientation to create the sound beacon in the right directionin virtual space and provide the proper sound signals to user's ears.The target location is 12. There are illustrated two blocks 13 and 13Aof the city. A navigator will create route where user should go first indirection to the sound beacon 15. The command could be “Go 100 yards indirection to the sound”. As soon as user will reach the sound beacon 15,local target 15 should be canceled. Then navigator will advise turnright in direction to sound beacon 16, that will begin work, and go 200yards. On the end of the block 13 in position 17 user could hear warningabout street crossing. As soon as user will reach position of soundbeacon 16, the user will be informed “You have arrived, your destinationis on the right”.

FIG. 5 is a view illustrating user 1 with headphone 10. The headphone isintegrated with a orientation sensor 18 connected to a gadget 19. It ispreferable to detect orientation of the user's head for propercalculation 3D sound according the sound source in virtual space and useHead-Related Transformation Function (HRTF). Orientation sensor locatedon the head is the best option of determining the user's orientation.

FIG. 6 is a view illustrating headphone 18 integrated with the gadget21. Such device could consist GPS sensor, orientation sensor,microprocessor for 3D sound calculation and other means. The control ofapplication and gadget can be provided by verbal commands as well.

FIG. 7 is a view illustrating a headphone 22 without an orientationsensor, the orientation sensor is in the gadget 23. Preferably if a userwill hold the gadget by two hand to be able synchronously turn with thegadget. In this case orientation data from orientation sensor of thegadget could be used as orientation of user. As a rule when user look toa screen of the gadget perpendicular. That means that orientation of thegadget relatively constant to user's orientation when user use thegadget and look to the gadget screen.

FIG. 8 is a view illustrating samples of regular stereo microphone 24and stereo microphone 25 for 3D sound records. As a rule regular stereomicrophones built in one body very close to each other a left and aright sensors. Proper stereo microphone 25 to with purpose to record the3D sound should be different. There is distance about 6 inches should bebetween the left and right sensors. The dummy 26 is recommended to placebetween the sensors. The dummy will create shadow to the sensors whensensor is on the other side of the dummy from sound source. Alsorecommended to put microphone sensors into ear-type locators 27.

FIG. 9 is a view illustrating samples of integrating stereo microphoneinto gadgets. There are two smart phones and one tablet on the drawing.Microphones with positions 28 are located in front of the gadget withsome distance between each other, for example, close to positions ofstereo cameras. Microphones with positions 29 are located on thesideways of the gadget. Such positions of microphones could help createshadow effect and use the gadget as a dummy. Microphones with positions30 are located on the sideways of the gadget's narrow side, if it is bigsize tablet.

FIG. 10 is a view illustrating traditional method of creating andproviding a music composition. There are 6 sound tracks coming, forexample, from vocal 31, rhythm guitar 32, bas-guitar 33, keyboard 34,percussion instruments 35 and guitar 36. As a rule all tracks writtenseparately in studio. Than sound director (soundman) in studio 37 edits(bring together) for users (listeners) two channels of stereo records38. All users hear the music composition as it was edited by soundman instudio independently from medium: vinyl, cassettes, CD or mp3. Alwaysfor all users it will be the same music composition. All possibleinteractivity for the users are balancing between right and leftchannels and changing the volume. There are no big difference betweenstereo, quadro or Dolby—all of them is fixed forever records.

FIG. 11 is a view illustrating three different position and orientationof user-listener in virtual space. The method according the inventionproposes solution for interactive listening of a music composition.There is not necessary to bring together several sound tracks to stereoin fixed way. The sound track sources 31-36 placed into virtual spaceeach other with own coordinates. User is immersed into the virtualspace. All sound tracks activating and playing inside the virtual space.User 1 will be able move in the virtual space and hear the musiccomposition interactively. Sound engine will calculate and provide soundsignal in real time volume for the left and right ears of the user fromeach sound source. The calculation should take into consideration HRTFand user's position and orientation data, sound sources coordinatesdata. On the FIG. 11 are illustrated three different user positions andorientations 39, 40 and 41 relative to the positions of soundtrackssources. For example, position and orientation 39 of the user allow tohear with a good volume singer (vocal 31) with the rhythm guitar, sametime hear from his left with good volume percussion instruments 35. Theuser will hear all other instruments with lower volume as a background.Position and orientation 41 of the user allow to hear with a good volumein front of the user the guitar 36. User will be able to hear alldetails of this guitar, because all other instruments and vocal will bewith lower volume as a background. Position 40 of the user is integral.It allow to hear all instruments and vocal with same volume same time.User will hear that he surrounded by all instruments. Maybe user willhear music composition in position 40 very close to he could hearbrought together in studio same music composition.

FIG. 12 is a view illustrating another disposition of the band anduser's interactive route. There is another disposition of musicalinstruments and vocal sources on the FIG. 12 than was illustrated onFIG. 11. The route 42 shows how the user changed his position duringplaying a part of the music composition. User will be able move invirtual space between the music instruments and vocal every next hearingtime differently. Every time user will be able to hears and percepts newaspects and details of music composition. Such interactive possibilitieswere not possible with fixed brought together and fixed musiccomposition. User hears the fixed music equally always. Same time invirtual space user will be able could move by different routes to takeinto consideration different aspects of music composition.

An application on the smartphone with three-dimensional sound can beused for positioning of GPS. For example, the user stands in the centerof a stadium indicating this place as a zero, another user can be at thestadium at the same time in another spot of the world. Applications onthe gadgets can be connected in one network via Internet and exchangemutual relative data where original coordinates were converged. If thetask of one user is to catch another one in the same virtual space theycan even not be displayed to each other visually, and an acoustic beaconis given in their location. Another user will hear where and which sidethe user is and he can go in this direction. And the first one willattempt to go away from him. For example to catch means to come to thepartner at the certain distance in the virtual space. It is almost thesame as run one after another in the darkness in one real space withorientation by sound. Taking into account that the user's eyes cannotget distracted from the screens, they will be in safety in the sense ofcollisions with objects and other people. An application can becompleted with monitoring of physical activity. It is possible tomonitor movements for smaller spaces with such sensors as Kinect. Andone can walk around the virtual space displayed in HMO in Virtusphere.If one plays sitting in an armchair or standing in one place it ispossible to control avatar movement with touchscreen or manipulatorsinstead of physical movement. One or several users can chase the soundbeacon in the virtual space for stimulating movements at the stadium. A“flying” MP3 player can be the beacon. It means that it is possible toplay the music the user would like to listen to. The user will pass orrun unnoticed a fairly large distance and take the necessary exercisecontrolled by applications trying to get closer to the moving player.Data of physical activity from portable monitors allows fine adjustingof it both from smartphones and specialized watches and wristlets.

A method for orientation by sound beacon in the virtual and real spacesThis method can be useful under conditions of low visibility, in fog, atnight and can become the only possible one for blind people and peoplewith limited vision ability. The variant of the described method oforientation by sound beacon could be a method of orientation of theblind user by the sound beacon created in the virtual space.

A method for orientation by the sound beacon is that the user isprovided with stereo headphones, the target for orientation andcoordinates of the target are determined, location and orientation ofthe user in the space and direction from the user to the target aredefined, in the direction of the appropriate target is installed a soundbeacon in the appropriate virtual space, sound signals to the user'sheadphones are calculated and transmitted in such a way that the userwill be able to turn toward the signal of the sound beacon whileperceiving where it comes from. Additionally it is possible to providethe user with an approving signal when the user has correctly orientedhimself to the set target. In addition, a tip is complemented withspeech commands about the side it is better to turn to because it iscloser to the set target and with comments to actions. It is preferablyto control by hardware if headphones are connected to recommend the userto put them on.

It is useful even in the displayed virtual space for sighted people tomask game objects on some levels, the user will have the possibility toplay blindly, to practice in orientation only by aurally. For example,after shooting you can show the object which the user has shot on for awhile in order he can correct the aiming in the future. It can benatural as by shooting at night and the lighting for a minute is of theflash by shooting.

Examples of Applications According to the Invention

Orientation to Qibla in Mecca for praying Muslims An application anddevice for orientation determining, e.g. Qibla (Caaba in Mecca) even forthose who are blind in both eyes. This application can be useful andused in many cases when it is necessary to orient correctly but there isno visual cues or there is no possibility to see them.

The task of Qibla determining was the one of the most important tasksadopted to the science by the Islamic religion. Since the case was inthe obligatory ritual of fivefold daily prayers, the breath of lifebecomes the skill to identify necessary direction in any geographicpoint. Often it used to cause difficulties for e.g for travelers whofound themselves in a desert without any landmarks. The more precisedefinition of Qibla becomes one of the key reasons for development ofgeography, mathematics, astronomy and other sciences in the Islamicworld. In the modern calculations direction of Qibla is determined fromthe shortest distance on the earth's surface. GPS and a navigator dealswith this task easily. An additional task for a blind man is to orientto Qibla on his own without the possibility to look at the screen orreading of instruments and a compass.

With respect to the invention the method is that the user, e.g with asmartphone and headphones, runs an application which determines hislocation according to the data of GPS, defines orientation to Qibla inrelation to his location, then it sets the sound source (sound beacon)in the direction of Qibla and gives a signal. The user will hear thesignal in his headphones and turn to its side, to the necessary side inorder to be able to pray correctly. This method would allow even a blindor visually impaired man to orient to Mecca and it ensures that he willhave the possibility to pray correctly being unable to see the compassneedle or other visual references on the screen. If there is no GPS inthe gadget, coordinates can be entered by hand or by voice. It would beuseful to have a menu with option of chasing the point of your locationor simply option of a locality and country and in such way alsocoordinates of the orientation target. It will be profitable to makeadditional control if headphones are put on correctly. For this purposeyou should, e.g. send an example signal first to the right ear, confirmverbally and by clicking the button that the signal is heard in theright ear. Then you should do it for the left ear and confirm that thesignal is transmitted correctly. If one of the channels does not work itwill have no effect of three-dimensional sound.

The user should be provided with oral and writing recommendations how tohold a smartphone as it will rotate in the space in axial alignment withthe user in case when an orientation sensor or digital compass is notinstalled on the user's head but gadget sensors are used. Then itsorientation (if there are orientation sensors) could be taken fororientation of the user. If orientation sensors are located directly onthe user's head gadget orientation will loose its value. An orientationsensor can be fixed on the user's head in different ways. This can be avirtual helmet (glasses) of a type with orientation sensor. This can beglasses or headphones supplemented with orientation sensor. In alldescribed cases a digital compass, three-axis magnetometer withthree-axis accelerometer can be used while it is a less preferredoption. But the variant of headphones with a digital compass may be themost effective as to the price and satisfy its objective.

Universally applicable devices kind of smartphones are easy-to-use,cheep and spread almost everywhere. But in the case when they are notenough, e.g. by those devices that have a limited number of thenecessary sensors, additional devices or separate devices for executionon tasks can be used. In this case data from sensors of the externaldevices is combined and the smartphone serves as a computing device andsends calculated sound signals to the user's ears or a dedicated devicecan be used. An example of the minimalistic dedicated device: a completeorientation sensor with gyroscops or a digital compass (it is better tofix this sensor or maybe the whole device on head), processor, GPS,stereo headphones, push button and/or sound interface would allowcompleting the set task or many others. Another way of the methodapplication is the possibility to play in the virtual space withorientation by sound. For example, there is a possibility to hear thetarget and orient on it, to hear the target hit or miss, moving to itsside, get points number, instructions. Additionally instructions andservice information can be represented not with three-dimensional but acommon sound.

Another variant of implementation may be smartphone vibration byrotation towards the necessary side. This minimalistic variant can beused by those who are hearing-impaired in one ear. Rotation of the usertowards the side of a common sound beacon can be complemented withgadget vibration or verbal approval.

For implementation of invention it would be useful to produce headphonescompatible with an orientation sensor or digital compass. It isprofitable that such headphones have a device prompting the user how toput on headphones correctly in order the signal for the right ear comesto the right headphone and signal for the left ear comes to the leftone. It is useful to fix an orientation sensor or digital compass onglasses frame or on glasses themselves, on a cap and headphones shouldbe connected to them in such manner that the user will be able to put onthem definitely correct way. Headphones with a temple can haveorientation sensor on the temple, in-ear headphones can have orientationsensor on one of the ears or on the connection of two wires on the chinthat is more common. Moreover a small sharp pin on the connection placewhere the sensor is fixed would not hinder the user if putting onproperly. And if the right side is mixed up with the left one this pinwould be directed to the breast and cause inconvenience. Orientationsensor is to be fixed on wires before its connection to form a sort of atriangle.

Other ways of application of the described invention: a compass withsound signal beacon and interface; supplement of a common navigator withnavigation function and interface in order a blind man will be able toorient in the space with auditory cues and complemented verbal promptsused in common navigators for sighted people; orientation ofgeliostations, solar panels with determining of GPS coordinates, time ofday and year for automatic and highly effective orientation to the sun.Solar panels become very popular in houses, cars, soon they will besmall and mobile for individual use and orientation to the sun, e.g.with servo drives powered by the accumulator connected to the panel ordirectly from the panels will be logical. Processor can calculate ahighly-effective direction for panels and control their orientation andeven turn them around after the sunset to the east side to prepare themfor the morning. Development of skills to orient by the shot sound wouldbe useful for military, policemen and other law enforcement forces. Suchapplication would be also useful for hunters to train skills ofrecognition of different animals by sound and knowledge to determinewhich side the sound come from. A rustle of a squirrel moving throughthe withered leaves differs greatly from ground—squirrel and deers.

Computer games where three-dimensional sound would be not simply a smallfeature but one of the most important one to increase the variety ofinteresting applications. In such applications orientation bythree-dimensional sound will offer users an advantage and become one ofthe main game interfaces. Sound applications where it is necessary toavoid the sound source, run away from it or follow it. For example,let's imagine three classes of objects each of those can feature ownsounds, it is necessary to run away from some of them, to come closer toanother ones and the third sounds are neutral (e.g., informative, theycan not be in 3D). Additionally physical activity can be taken intoaccount.

In games with three-dimensional sound it is preferentially to havesounding subjects in game in order the user will be able to orientaccording to their sound. As a preferred option can be the followingobjects: continuously murmuring bees, wasps, bumblebees, flies,gad-flies; chirping gnats and mosquitoes; animated 3D players; singingobjects.

A method of providing to user a three-dimensional music A variant forpredefined position in the space sources of the sound of musiccomposition (artists, singers and/or musical instruments).

The method means the sound recording with stereo microphones in such waythat the user will be able to feel sounds arrangement in the space andtheir moving in time towards the user (listener).

The user will have a feeling of involvement, of presence near his cultfigure and artist. Subsequently a feeling will occur that the song isfor him. Usually the artist is detached from listeners with a scene.Usually there are thousands of listeners in the concert hall. There arepositives points in it. The multitude are getting worked up, wind upeach other, general euphoria of performance raises up. In all casesthere are fans and overemotional people in the hall by which the artisttrigger emotions quicker. Other concert-goers often are given theseemotions and worked up from it. The artist contacts with the audience,with the multitude and only partially with individual listener.Listening in the hall is both an advantage and disadvantage. Forexample, in specific situations artists can allow themselves to sing toa backing track. For example, even if the artist is moving through thescene, the singer is singing using a microphone which he takes with himand it is not reflected on the playing back from stationary locatedsound speakers in the hall. The microphone of the artist can be mono orstereo but his moving through the scene, e.g. from the right to the leftdoes not change the volume from the speakers in the right and in theleft parts of the hall. It is unnatural in the nature but became usualon concerts.

Stereo on basis of 3D sound could ensure the effect of the soundpresence (by analogy to the telepresence). For this purpose a stereomicrophone should differ from the common stereo microphones. First ofall microphones should be mutually spaced and specially directed to theuser's ears. In the simplest case we talk about two microphones for thesound recording for the right and for the left ears. But their numbercan be greater. According to our invention stereo microphones should bemutually spaced correctly. An optimal distance is an average distancebetween the human ears. The distance between ears is different bydifferent people and the average distance vary from 14 to 16 cm.

In some cases for enhancement of the effect of the sound dimensionalityit is profitable to make the distance between microphones greater thanthe average distance between ears of the average man.

A muffling device should be set between microphones, it should havesimilar properties as by muffling the sounds with head, like a headshadows sounds from the ear which arrive from the other side, like asound rounds the head and comes to the ear from the side shaded from thesound source (head-related transfer function). Depending on the way thesound arrives to one of the ears a braincase can partially withattenuation come to another ear. It depends on the way the sound arrivesto the user. For example, the real sound without headphones, headphonesdynamics of which are associated with the ear size and can shake alittle bones of a braincase, in-ear headphones put in the auditory canalof the ear, or contact speaker system which shakes a bone. Suchphenomena like attenuation, diffraction, interference etc. for sounds ofdifferent frequency can occur in different ways depending on material,shape, capacity of a screening microphone. It is useful to select suchproperties as it maximally matches what happens with human head. Thenthe recorded sound will reproduce in more exact and natural waymovements of the user in relation to the future virtual listener andinfluence him stronger and more natural triggering emotions.

Often the part of the sound is transmitted to the shaded ear via humanbraincase while he does not realize it. It is known a method forproviding the user with sounds by means of a contact method whenspeakers do not give rise to oscillations of the air but by means of acontact through the skin with ossicles, they transfer oscillations tosensitive mini ossicles that if the sound shakes drum membranes throughthe air will also oscillate from these membranes. These ossicles throughneural sensors in brain are perceived as a sound. Such speakers can alsobe used for reproduction of dimensional sound to the user. Additionallythis method of the sound transmitting through the bone indicates thatsound vibrations on one side of the braincase can with attenuationpartially arrive to the sensitive elements of the other ear.

To have full image we need to keep in mind that external ears of a humanplays an important role. They, e.g. can reinforce the sound on somefrequencies by concentrating the sound into the ear. They reinforcesounds that come from the front side of the user's head. Account andcreation of such surround for microphones will increase credibility of3D sound and naturalness of perception of the record for the user.

Microphones on gadgets are generally mono type. Even in standardfour-pin audio jacks two channels and a ground are aimed for headphonesand only one channel and a ground is intended for a mono microphone.More often inbuilt microphones are not mutually spaced so that it hasthe same properties as reception of three-dimensional sound by theuser's ear. The average size of smartphones matches the average distancebetween ears of the man and consequently it is possible to build stereomicrophones correctly into such smartphones according to the invention.This possibility is even higher for tablets, as they are big enough toinstall microphones on one edge at the necessary distance. Stereo soundrecorded with such microphones will be more preferred by filming a videoor panoramic video. You can always change recording option on thesmartphone from mono to stereo and vice versa.

This method will be profitable in cases when it is necessary to createthe effect of presence, stress intimacy of the events. Differencebetween a concert band in the hall or a singer on the big scene and amusician and singers in one room nearby. For such different cases evendifferent musics composed. For example, works composed for a chamberorchestra differ a little from works composed for reproduction inconcert halls. This method for creation and reproduction of 3D sounds issimilar to salon reproduction like it was made music and sung in housesbefore invention of radio. 3D sound will be necessary for immersivevirtual reality complemented and combined reality, telepresence, byrecording panorama 360 and immersive movie.

For immersive movie it is profitable to complement a previously shotpanoramic video with the sound re-computed as 3D sound depending on theuser orientation when there is a possibility to space the sound sourcesmutually in the virtual space. By shooting an immersive video by 360degrees according to the invention it is profitable to record the soundwith stereo microphones for each recording video camera. Then by videoplayback those channels of the sound reproduction would be switched on,these channels conform to the direction on the picture which the user islooking at. Usually for shooting of an immersive panoramic video minimumtwo cameras are needed and up to dozens of them depending on therequired quality. The same quantity of stereo microphones we wouldrecommend for use. For more exact reproduction of the sound in apanoramic video it is profitable to record the sound sources separatelywhen it is possible and place them in the virtual space of the panoramicvideo in the correct accordance. Then by head rotation towards a certainside the user-concert-goer-listener will hear the correct sound from thecorrect side from the sound sources. It is possible to recognize imagesof the sound source where a newsreel shooting was performed without thepossibility of recording through the separate channels, separate themand use the positioned sound sources in the virtual space in the rightplaces. Even now there are instruments for shooting of the ambient videoand building of 3D model in the real time mode that could be used byproviding the user with these models of the virtual space. It wasproposed no decisions for recognition and positioning of the sound forsuch space. Another variant of implementation of the dimensional soundfor panoramic (dimensional) video is that by shooting of the visualimagery with many cameras the sound of artists (or other soundsources—guitars etc.) is recorded with a portable microphone and in thesame time the user (microphones) coordinates in the space (towards acamera) are recorded. If cameras are moving it is profitable to recordboth camera coordinates and the sound sources. The coordinates of actorwith microphones can be determined after shooting or in the real timemode by means of recognition of images of the shooting video. Byreproduction of the panorama video to the user in the virtual helmet thesound is played back with a sound engine according to the recordedcoordinates of the microphone during recording in relation to the cameraand now in relation to the viewer-listener. In this case the user willsee dimensional movie all around and truly three-dimensional sound fromartists or other sound sources.

Further immersion could go on in the sort of the virtual reality whenthe user could move in this model though the shooting was performed fromone point even if it was panoramic. The sound sources could bepositioned automatically and then by moving in the model of this spacethe user would hear dimensional sound. I.e. we could move to any side ofthe video from the virtual point of the performed shootings like zoom inputting us closer to the shooting object. By recognition and positioningof the sound sources in the space it could be possible to change thesounds volume by coming closer to them and for sure balance betweenchannels depending on orientation of the user's head to the virtualsound source.

According to the invention for implementation of invention it isprofitable to create and use stereo microphones that are correspondentto the above-described properties: mutually spaced microphones(generally at the average distance between human ears) oriented todifferent sides with a screen buffer between them in the sort of humanhead. Some parameters of such device could be adjustable: distancebetween microphones, microphones directivity, size, shape and screenmaterial between them, a sort of radars that concentrates the sound thesame way as human ears. The sound recording should be performed byactive moving of the user in front of and around the microphones as ifthe user sings or talk for a certain man. Then it will seem to everyuser (or listener-viewer if the soundtrack is assisted by the videorecord or panoramic video) that the artist is singing specially for him,it will provide him with the effect of presence and intimacy ofpresenting. Such records could be mixed with additional sounds includinganimated movements. With stereo microphones of this type not only musicrecording studios, 3D cameras and panoramic cameras could be fitted butalso such widely spread consumer devices like smartphones, tablets andsimilar gadgets. A need in correct recording of three-dimensional soundwill increase with increasing of number of applications with virtualreality, augmented reality and other applications with three-dimensionalsound. Such three-dimensional music and songs can create a new genre ofpresentation-address for one man. Such method of sound recording (andvideo) could also find a use for erotic applications elevating a feelingof involvement in the events.

Such type of approach to perception of three-dimensional sound could bealso useful in robot industry. It will enable robots to orient not onlybased on the recognition of the visual images but also recognition ofambient sounds and its location in the space. For example, automaticorientation of cars on the road using GPS and recognition of visualimages is necessary to complete with reaction on sounds (such as alarmsof surrounding cars, whistle of a policeman etc.). It would increasesafety of autonomous transport means the quantity of which shoulddramatically increase in the near future. For this purpose it is usefulto build into such cars at least stereo microphones and ideally alsomicrophone clusters which signals allow to recognize a sound signaltype, its location even if the source is not on the line of sight.

We cite an example of the method of a music piece or song record withstereo microphones. According to the invention the stereo microphonewill keep a record in the course of moving and stopping of the artist(or artists) around it, it will allow the user-listener to position theartist and his movements around it listening to the record, it also willcreate a feeling of his presence nearby as if the artist would performhis music piece specially for him. It arises the effect of performanceintimacy. The user will be able to feel approaching of the artist andhis removal, moving from one side to another one and even that what theartist sings under his breath in one of the ears. It was impossible byperformance of the artist on the far removed scene, only by closecontact. «Close contact» is virtual in the sense that music and/or asong can be recorded in a studio at the distance of thousandskilometers. But it will be perceived that as the artist is nearby thenand there. Such performing should have more affect on the user (maybedeeper on the subconscious level), it will give additional possibilitiesfor more clear and effective advertising, politicians speech, tuition.Pre-recorded sound channels, tracks can be turned into animatedthree-dimensional sound with the aim of applications with virtualreality. If the artist (microphone) coordinates are recorded during thepresentation, it would be possible to position the sound sourceaccording to the recorded coordinates by reproduction in the virtualspace.

A method for use and interactive providing of multichannel sound to theuser A variant for the recorded music piece which was not pre-determinedin the space. A method for use and interactive presentation ofmultichannel music piece to the user.

In this invention a method for use of the sound signals for interactivelistening by the user is described. The method allows dimensionallyrepresenting of the sound source in the virtual space with possibilityof the user to move in this space for interactive reproduction of thesesources as of interactive three-dimensional sound. It is possible tochange settings of the sound sources in the space as well as animatedspace. The user in stereo headphones will have the possibility todistinguish the location of the sources in the space by means ofbinaural hearing with possibility to change his orientation and positiontowards these sound sources. With binaural hearing man is able todetermine where the sound source is not only in azimuth but alsoestimate that it comes from above or from below. It is enough for theuser to incline the head to the right or to the left and he will be ableto understand exactly the height the sound sources is on even if thesource is invisible.

For historical reasons sounds including music and songs (soundtracks)are recorded with microphones from stationary points in relation to theartists. Even if several sound channels are recorded, e.g. severalsingers or separate musical instruments, all the channels are broughtall together for reproduction by the user statically in two stereochannels for headphones or speakers, or at Dolby standard in moreadvanced case. The user has limited possibilities of interactivity suchas volume change, sometimes balance change between channels or change offrequency background and tone on advanced devices. He cannot turn offany of the sources on his own free choice, change the volume separatelyfor one of the sound sources because all these sound channels arealready converted to a statical work, e.g. on CD or in MP3 format.Although this work is made by talented and experienced sound producersand users can enjoy their variant of representation. But they cannotlisten more attentive to a certain sound source at his own wish, e.g. toa singer or guitar when they would like to. Modern facilities ofmicroprocessors and the stated method allow listening to thepre-recorded music in a new light if soundtracks of the separate notre-recorded (not mixed) music channels are saved in archives or newmusic by saving it in multichannel variant which is the perfect choicefor the described method.

Absence of computers and sound engines for three-dimensional space inold times left its traces on the method of recording of music pieces.The sound even of the mutually spaced sources (channels) is recorded(re-recorded) even if it is performed by professional sound producers intwo stereo channels for the user. A more positive variant, Dolby recordand reproduction is more progressive but has the same disadvantages,previously pre-recorded sound without the possibility of interactiveinteraction with separate sources. A minimal possibility that the userhas is to change the sound volume of the whole work or separate speakersbut not initially recorded channels of the sound sources. Even onexpensive high-end equipment the user can reinforce the sound of acertain frequency with equalizers, change the volume for stereo or Dolbychannels but not of the initial sound sources. The user has nopossibility to come closer to the sound source to enjoy its nuancesnearby, turn towards it the way he would like. But these are limitedpossibilities of reception of the previously pre-recorded (mixed) soundsources that can not give the effect given by the provided in theinvention method.

In the recording studios soundtracks archives of works with notpre-recorded sound, not pre-recorded channels are held. A new method ofuse of such recordings is proposed in the invention that will allow theusers to enjoy music and songs with new interactive possibilitiesproviding an opportunity to feel particular nuances of each soundsources having the possibility to listen to the same work thousands oftime in different ways. They can give attention to those sources theygive preference to. This method will allow the holder of rights of theserecordings to get additional income opening new commercial possibilitiesof use of these archives. Of course recording of new works according tothis invention will allow using of music pieces more variedcommercially, specially because of interactive possibilities forbillions of user gadgets such as smartphones, tablets, glasses forvirtual reality and other portable devices. According to the inventionthe use of multichannel sound for interactive applications with 3D soundwill allow to create more individual, intimate and interactive musiccompositions. In these works—applications the user can come up with theartist or between the artists and musicians or become a central «place»for which this work is composed and in some cases even to be itsparticipant.

It will allow the user to become a music creator to some extent (ormusic variants), be a sound producer or editor of this music. The userwould be able to position the sound sources including animated ones formoving them in the space in a predetermined or random way for a periodof time the way he likes. The user would have the possibility of moreadvanced original KARAOKE. He could reproduce it by himself havingdecreased the volume and removed the vocal channel as well as recordingit for further playback by other users. Additional novelty is that itwill be possible to perform substitution in the original karaoke via anychannel (sound source) or via several ones. For example, if you are abass guitar player and are fond of percussion instruments you will havethe possibility to play a part of your favorite music piece on yourguitar “together” with a great artist. He will be able to listen to themusic piece where he has played a part. It can be a basis for a new typeof interactive games kind of “Rock Band” but with real listenerparticipation in music. There will be applications with greaterpossibilities and interactivity. It is impossible to do it withpreviously pre-recorded music where channels are combined and mixed andbrought together into stereo channels or Dolby.

According to the invention the method is that each recorded channel(sound source) is set in the virtual space with its coordinates. In thesimplest case it can be dotty sound sources with the sound propagationevenly around and above. In some cases orientation of the sources in thespace will also be important with its function of power distribution inthe space depending on orientation. For example, sound shading with theartist's head can be taken into account. Line and orientationcoordinates in the application can be fixed or changed according to thescenario and/or at random or under the control of the user. Coordinatesof the user in this virtual space can also be changed. A sound engineensures at least the main properties of 3D sound, sound attenuation bythe sound source removing from the listener and different calculatingsound volume for the left and right ears depending on the distance tothe sound source and head orientation towards the line connecting theuser and the sound source. These sound properties are well known and aresimply simulated for the virtual space. To the sound engine all realproperties of the sound can be included or added unreal ones. There aresome of additional well known properties: diffraction, interference,time difference of the sound arrival to the right and left ears, accountof sounds shading by head or other obstacles, changing of receptionproperties depending on the sound frequency (spectral characteristics)as well as combined with the above listed properties. The user canposition location of the sound source towards himself by the soundreception. For example, a singer or singers will be mutually spaced inthe virtual space as guitar players, percussionist or other participantsof a vocal-instrumental ensemble. The sound engine will change the soundvolume of each sources depending on the distance and on the userorientation towards each source. The user in stereo headphones will hearsounds and his brain will calculate (its neural networks will givedefinitely enough an indication) where the sources are even if the userdoes not see them. It will give the user a possibility to move towardsthe sound sources the way he wants and determine their location bysound. For example, when a vocal part begins it is possible to comecloser to the vocalist and when, e.g. plays a bass guitar to come closerto the bass guitar player insofar as it will be comfortable for him. Insome applications this possibility will allow the user to preset thesound sources the way he wants and move them during the presentation.The user-listener acts there as kind of a band, master, stage director,sound producer on which actions the sound volume and accents willdepend. By describing such interactive three-dimensional sound for theuser's applications in details we notice that these applications can becombined with reproduction of visual imagery in the form of virtualreality, complemented reality, or in separate cases by the panoramic orsimple video. These interactive applications can be used only for soundthough the engine for sound calculations will use coordinates in thevirtual space from the sound source to the user's ears immersed in thisvirtual space. It is profitable to complement such application withvisual imagery with display of instruments and artists. Animation ofartists and use of visual effects will show to advantage. Photos andvideos implemented in the application of virtual reality could be a partof such applications. It is useful to complement such application with avirtual guide with comments where his video display and/or sound couldbe turn off as you wish. This guide could provide the user with the songtranslation into his native language. The translation could be turnedoff also as a three-dimensional pony-teletext in the artist's orlistener's native language. Game moments could consist in following theanimated artist, approaching to instruments or the vocalist in thenecessary moment when his part begins. An expert or fan would get morepoints because they know the music piece and can expect what comes next.An interesting task for fans would be to locate the sound sources insuch way that the result of playback would match with the known varianton a record or CD. It could also be estimated in points. Such musicplayback in the virtual space could be accompanied by unrelated gameelements connected, e.g. with physical exercises or which are taken fromother game.

The user by listening and interaction with an application based on themultichannel three-dimensional sound will search a route and points tofully enjoy the playback. The user could share his recorded routes for acertain music piece in order his relatives will be able to feel itdeeply as he did. The avatar of the user can be displayed in theapplication. Then he and his partner connected to the same space (alsodisplayed for the other one) would be implicated in one virtual space.It would be a shared listening. They could discuss the events togetherand intercommunicate. This variant would be the most applicable insocial networks. A game with the multichannel three-dimensional soundwhere the user is looking for a good point for sounding. In fact it canbe a 3D sound. As during the song the best point for listening can bechanged.

Interfaces for Application with Dimensional Sound

Interface variants for interactive communication with the sound sourcesin the virtual space: Interface for such listening can be quite diversefrom providing with the possibility of physical movement in the realspace in a virtual helmet with headphones (or without virtual helmet butwith headphones) if the user's movement is monitored with sensors, e.g.by means of microsoft Kinect or physical walking in the Virtusphere. Insuch case his movements will change his position in the virtual spaceallowing to approach to or move away from the sound sources or changehis orientation towards them. By using a smartphone it is possible, e.g.to walk physically if the smartphone or additional sensors will monitorhis movements. A more commonly used variant with gadgets where the userwill move in the virtual space like in computer games with variousinterfaces. Please see the most common of them below. Using of a virtualhelmet with orientation sensor and headphones. Simply using a smartphonewith headphones and using orientation sensor to control rotations of hisbody in the application in alignment with the smartphone and makemovements, e.g. with touchscreen or gamepad. Using a smartphone withheadphones without turning round with the smartphone (if it has notorientation sensor) for orientation but use touchscreen or gamepad forrotations and movements. The last variant is suitable if the user, e.g.sits in an arm-chair in a plane or bus and do not have the possibilityto turn on his axis for orientation in the virtual space like he orientsin the real space. By rotating in the virtual space (by rotating hisavatar) the user practically reverse the virtual space. Having heard thesound source, e.g. at the angle of 40 degrees to the left the user witha little experience will turn the space to the right in such way thatthe sound source will be opposite to him in the middle of the screen.And if, e.g. this sound source is an enemy object he will be able toshoot it. Or come closer and shoot it. Or turn the weapon to itsdirection and shoot. Or move (run away) to the safe side. Such usage ofthree-dimensional sound in applications will help the game player a lotand become the main game moment.

Such interactive immersion into three-dimensional sound with or withoutdisplay of the virtual space should have deep and clear affect on theuser (possibly more deeply on the subconscious level) and it will giveadditional high possibilities for advertising and tuition. Suchinteractive immersion into the space with sources of three-dimensionalsound would allows even blind or visually impaired people to playthree-dimensional games because it provides the possibility to orient inthe space by sounds and communicate with them interactively.

A sound source can be not only dotty like it is usually implemented insound engines but also extended one (e.g., string of a guitar or piano).It will allow to have a dimensional, rich and natural sound even fromone source if it is provided correctly.

It is possible to complement the sound in the hall with virtual sourcesin order to provide the user with a feeling of involvement with othervirtual listener, e.g. with applause of other listeners, approvingoutcry mutually spaced all round. It can be a variant the user canchoose by listening a music piece (or interactive application, e.g.smartphone). For example, the well known song of the band Eagles “HotelCalifornia”, over the track that probably was recorded in a studio ithave been also recorded the audience reaction to the song by performancein the concert hall. It provides the involvement in the listening in thehall though the user probably listens to the track individually in hiscar, at home from speakers or through headphones.

Closer is only variety of chamber music and salon performance of musicor music pieces when the singer was in close proximity to the listener.

In such cases when the use of headphones is impossible or inconvenientit is possible to provide an immersive three-dimensional sound withoutheadphones in the limited space. For this purpose minimum four soundspeakers are installed around the perimeter. Maybe optimum will be sixor eight devices for reproduction of sounds (sound speakers). In thiscase it is important to know the way the user is oriented. The spacewith speakers will always have the same orientation as the virtual spacehas. The user coordinates could be changed in VR with controller and/ordevice kind of Kinect which monitors real movements of the user but inthe limited space. The sound from the source sound in the virtual spacewill be reproduced on sound speakers according to the user position inthe virtual space. The sound engine in the application will calculateorientation and position of the sound sources in the virtual spacetowards the user and a signal will be given on the speakers that will beinterpreted by the user as a three-dimensional sound. For this purposeit is necessary to use an additional driver and device for sounddistribution through the speakers. Speakers arrangement in the space andtheir quantity should be entered to such driver as parameters. Forexample, if the sound in VR goes from the North, in real space the soundgoes from the North. If the sound goes from the North-West, the soundshould be reproduced from the North and West speakers with conditionthat there are 4 speakers and they are installed in the cardinaldirections. Cost effective for such applications with three-dimensionalsound is to use stereo headphones or virtual glasses with stereoheadphones.

The most of the above-described applications with three-dimensionalsound and their interfaces could be successfully complemented with soundcontrol by the user's voice. It is helpful when the application hascontrol by means of voice commands recognition. BANG! BANG!-shooting.The user that holds a smartphone in front of him, or if it is worn onhead, or with headphones with microphone could shoot by means of voice,move and even turn round.

What is claimed is:
 1. A method of using three-dimensional (3D) soundfor navigating a user in a physical space, the method comprising:determining, with a processor, a position of a remote target to whichthe user is to be oriented in the physical space; determining, with theprocessor, a position of the user in the physical space; determining,with the processor, an orientation of the user relative to the remotetarget in the physical space; establishing, with the processor, acorrespondence of the position and the orientation of the user relativeto the remote target in the physical space and a position andorientation of the user relative to the remote target in a virtual modelof the physical space; determining, with the processor, a lineconnecting the position of the user and the position of the remotetarget in the virtual model of the physical space; determining, with theprocessor, a location of a virtual sound beacon along the determinedline at a distance from the position of the user in the virtual model ofthe physical space; calculating, with the processor, respective soundvolume levels to be supplied from the virtual sound beacon to each ofthe user's ears by applying a Head-Related Transfer Function (HRFT)based at least in part on the position and orientation of the user inthe virtual model of the physical space, wherein a calculated soundvolume level to be supplied to a left ear differs from a calculatedsound volume level to be supplied to a right ear when the user is notoriented to the virtual sound beacon in the virtual model of thephysical space; and providing, with the processor, sound at therespective determined sound volume levels to each of the user's ears toenable the user, through use of binaural hearing, to rotate towards thevirtual sound beacon in the virtual model of the physical space untilthe respective sound volume levels supplied to each of the user's earsequalize indicating that the user is oriented to the remote target inthe physical space.
 2. The method of claim 1, wherein determining theline connecting the position of the user and the position of the remotetarget in the virtual model of the physical space comprises determininga line that corresponds to a shortest distance between the position ofthe user and the position of the remote target on Earth's surface in thephysical space.
 3. The method of claim 1, wherein determining thelocation of the virtual sound beacon along the determined line at thedistance from the position of the user in the virtual model of thephysical space includes correcting for curvature of the Earth's surfacein the physical space.
 4. The method of claim 1, wherein determining theposition of the remote target in the physical space comprisesdetermining the position of the remote target based on user inputindicative of a location of the remote target in the physical space. 5.The method of claim 1, wherein determining the position of the user inthe physical space comprises determining the position of the user basedon user input indicative of a location of the user in the physicalspace.
 6. The method of claim 1, wherein determining the position of theuser in the physical space comprises determining the position of theuser according to global positioning system (GPS) coordinates of theuser determined by a gadget located on the user's body.
 7. The method ofclaim 1, wherein determining the orientation of the user in the physicalspace comprises determining the orientation of the user according to anorientation of a gadget located on the user's body.
 8. The method ofclaim 7, wherein the gadget located on the user's body is a hand-heldgadget held by the user such that the user rotates simultaneously withthe gadget.
 9. The method of claim 8, wherein the hand-held gadget is asmart phone equipped with an orientation sensor.
 10. The method of claim1, wherein providing the sound at the respective determined sound volumelevels to each of the user's ears comprises providing the sound at therespective determined sound volume levels to a right headphone and aleft headphone of a headphone set worn by the user.
 11. The method ofclaim 1, further comprising when the user is oriented to the virtualsound beacon in the virtual model of the physical space, providing, withthe processor, a signal to the user indicating that the user is noworiented to the remote target in the physical space.
 12. The method ofclaim 11, wherein providing the signal to the user comprises causing,with the processor, vibration of a gadget located on the user's body toindicate that the user is now oriented to the remote target in thephysical space.
 13. The method of claim 11, wherein providing the signalto the user comprises causing, by the processor, a voice signal to beprovided to the user to indicate that the user is now oriented to theremote target in the physical space.
 14. The method of claim 1, furthercomprising, when the user is oriented to the virtual sound beacon in thevirtual model of the physical space, providing, with the processor, anavigation signal to the user to instruct the user to move a certaindistance in a direction towards the sound in the physical space tonavigate the user to the position of the remote target in the physicalspace.
 15. The method of claim 14, wherein providing the navigationsignal to the user comprises providing, with the processor, a voicecommand to the user to instruct the user to move the certain distance inthe direction towards the sound in the physical space.
 16. The method ofclaim 14, wherein determining the position of the remote target to whichthe user is to be oriented in the physical space comprises determining aposition of an intermediate remote target in the physical space when adirect path to a final remote target specified by the user is physicallyblocked from the position of the user in the physical space, and themethod further comprises determining, with the processor, respectivelocations of one or more additional virtual sound beacons in the virtualmodel of the physical space, the one or more additional virtual soundbeacons corresponding to respective one or more additional remotetargets in the physical space to via which to navigate the user to thefinal remote target in the physical space, and sequentially providing,with the processor, sound from the respective one or more additionalvirtual sound beacons at respective sound volume levels, calculated forthe respective one or more additional virtual sound beacons, to each ofthe user's ears to navigate the user via the one or more additionalremote targets to the final remote target in the physical space.
 17. Themethod of claim 14, wherein providing the sound at the respectivedetermined sound volume levels to each of the user's ears to enable theuser, through use of binaural hearing, to rotate towards the virtualsound beacon in the virtual model of the physical space is performed oneof i) in addition to a visual navigation display being provided by anavigation system to the user or ii) instead of a visual navigationdisplay being provided by a navigation system to the user.